An early 20th century male nude by Guglielmo Plüschow, his typical set-dressing with patterned carpet and fabric making a fine backdrop to the timeless masculine beauty of his models.
Though very similar to this other photograph by von Gloeden, the mood here is changed entirely - no peace and gentleness in the model’s pose, the addition of some dark stain to represent blood spilling beneath his fingers.
The Martyrdom of St Sebastian, by Oscar Rejlander circa 1867 - the earliest photographic representation of this saint in my collection, all three gathered here.
One of von Gloeden’s most recognisable models, the charming Pascquale Stracuzzi or ‘Pasqualino’ (right), in a very similar pose to this beautiful photograph, but here having gained an equally graceful and good-looking companion.
The magnificent Eugen Sandow, photographed here in 1894 by George Steckel, his physique looking every bit as impressive to a modern eye as it would have to his contemporaries.
The bejewelled boy from Naples, his distinctive necklace and bangles barely visible in this shot, but more revealed by the dropping of the dark fabric which carefully covered him, when he posed for the better-known image in this set, Pompeii c1895.
Pascquale Stracuzzi poses for Wilhelm von Gloeden, in the latter years of the 19th century, the snowy peak of Mount Etna faintly visible behind him (as in this photograph from the same set). The pretty pale wildflowers have been carefully picked out by hand with white highlights, at first they appear genuine but on closer inspection are an artistic embellishment - editing of photographs to remove flaws or add detail is not a new pursuit by any means!
The glorious Nicola Giancola, photographed by F. Holland Day in the early years of the 20th century, but utterly timeless in beauty and sensuality. A much-improved copy of this exquisite photograph, I make no apologies for a repeat when the image is so breathtaking!
The moment I realised there was more than one Cain photograph in Wilhelm von Gloeden’s catalogue, I started to spot more and more variations. This one bears small ink annotations in von Gloeden’s own hand; if anyone can read what they say and would care to share with all the readers here, I’d be delighted to add that information to my caption!
A soft-focus scene from Guglielmo Plüschow, around 1900 - I cannot quite make out what he holds in his hand, but the basket spilling grapes at his side could indicate he poses as Dionysos.
A lavishly-dressed set draped with carpets and fur provides a detailed backdrop for this male nude by Guglielmo Plüschow, around the turn of the last century.
The drawing of a bow produces an interesting and powerfully taut pose, this example is sadly bereft of its correct credits. I have other archers collected together here.
An early 20th century photograph, striking in its simplicity with an unfussy, unpretentious pose, and no studio props to distract the eye and detract from the fine physique and charming handsome face of this unknown model.
A timelessly handsome young man poses for Plüschow around the turn of the last century, seated high on a pillar in the temple of Juno Sospita at Rome’s Civita Lavinia (now Lanuvia).